{"title":"两个世界","authors":"Lisa S. Starks","doi":"10.3167/cs.2023.350204","DOIUrl":null,"url":null,"abstract":"\nThis article examines how S. Ansky's 1918 play The Dybbuk, or Between Two Worlds and its subsequent adaptations on stage and screen appropriate Romeo and Juliet, transforming Shakespeare's tragedy, through Kabbalah and Jewish folklore, into one that ‘repairs’ the story of star-crossed lovers and the material world that they seek to escape. The Dybbuk is a ‘reparative tragedy’, one that intersects multiple levels of restoration, healing and repair. Generically, the play and its later stage and screen adaptations recuperate and refigure Shakespeare's tragedy; materially, it calls for the repair of past and impending trauma, suffering and severed human relationships. These levels, as well as others, culminate in the play's overriding spiritual one: the play follows the ‘reparative’ narrative of Kabbalah itself, with its goal of tikkun olam – to repair the world.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Between Two Worlds\",\"authors\":\"Lisa S. Starks\",\"doi\":\"10.3167/cs.2023.350204\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nThis article examines how S. Ansky's 1918 play The Dybbuk, or Between Two Worlds and its subsequent adaptations on stage and screen appropriate Romeo and Juliet, transforming Shakespeare's tragedy, through Kabbalah and Jewish folklore, into one that ‘repairs’ the story of star-crossed lovers and the material world that they seek to escape. The Dybbuk is a ‘reparative tragedy’, one that intersects multiple levels of restoration, healing and repair. Generically, the play and its later stage and screen adaptations recuperate and refigure Shakespeare's tragedy; materially, it calls for the repair of past and impending trauma, suffering and severed human relationships. These levels, as well as others, culminate in the play's overriding spiritual one: the play follows the ‘reparative’ narrative of Kabbalah itself, with its goal of tikkun olam – to repair the world.\",\"PeriodicalId\":56154,\"journal\":{\"name\":\"Critical Survey\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Critical Survey\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3167/cs.2023.350204\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERARY THEORY & CRITICISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Survey","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3167/cs.2023.350204","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
摘要
这篇文章探讨了S.Ansky 1918年的戏剧《两个世界之间》(The Dybbuk,或Between Two Worlds)及其随后在舞台和银幕上的改编作品,通过卡巴拉和犹太民间传说,将莎士比亚的悲剧转变为一个“修复”跨星恋人和他们试图逃离的物质世界的故事。Dybbuk是一场“修复性悲剧”,它涉及修复、治愈和修复的多个层面。总体而言,该剧及其后期舞台和银幕改编作品恢复并重塑了莎士比亚的悲剧;在物质上,它要求修复过去和即将到来的创伤、痛苦和断绝的人际关系。这些层面,以及其他层面,最终形成了该剧压倒一切的精神层面:该剧遵循卡巴拉本身的“修复性”叙事,其目标是修复世界。
This article examines how S. Ansky's 1918 play The Dybbuk, or Between Two Worlds and its subsequent adaptations on stage and screen appropriate Romeo and Juliet, transforming Shakespeare's tragedy, through Kabbalah and Jewish folklore, into one that ‘repairs’ the story of star-crossed lovers and the material world that they seek to escape. The Dybbuk is a ‘reparative tragedy’, one that intersects multiple levels of restoration, healing and repair. Generically, the play and its later stage and screen adaptations recuperate and refigure Shakespeare's tragedy; materially, it calls for the repair of past and impending trauma, suffering and severed human relationships. These levels, as well as others, culminate in the play's overriding spiritual one: the play follows the ‘reparative’ narrative of Kabbalah itself, with its goal of tikkun olam – to repair the world.